Qian Xue'er, Lu Linhan, Wang Yicheng
In Moscow's Gorky Park, a 1923 hexagonal building will be transformed by the Japanese architects Kazuyo Sejima and Nishizawa Ritsue, transforming it from a former machinery and tools exhibition hall into a museum of the future. The new pavilion will become an art and cultural complex. The idea of renovation will also be linked to the public space and history of the building.
Also inspired by the lines is french artist Pascal Dobbes, whose solo exhibition is being held in Shanghai. The eighty-year-old Zheng Boping, a descendant of the Wumen School, and his son Zheng Mingxuan held an art exhibition in Shanghai, "Drawing the Ancient and Casting the Present". The young illustrator HaloCat publishes "Four Seasons in the Suitcase", which presents time and daily life. In addition, artist Wu Jian'an and musician Fang Wenshan also brought exhibitions.
The Paper, Art Review, "Art Figures of the Week", reports and analyzes art topic figures and hot events at home and abroad.
Moscow | Building Shimeijima Kazusei with Nishizawa Ritsugu
Renovation of the old Soviet building "Six Sides Pavilion", Moscow Gorky Park added new
Kazuyo Sejima and Ritsue Nishizawa
A few days ago, the Garage Museum of Contemporary Art in Moscow, Russia, announced that SANAA Architects, hosted by Kazusei Sejima and Ryue Nishizawa, will rebuild its original "Six Sides" pavilion and design an expansion on its basis. This important expansion, located next to the Main Building of the Moscow Garage Museum of Contemporary Art in moscow's Garage on the edge of Gorky Park, will expand the size of the museum by redesigning its "Six Sides" pavilion and adding new public courtyards, exhibition spaces and cafes, all designed with the theme of "organic existence, loyalty to the principles of sustainable consumption and the creation of a freely accessible environment".
The original building of the "Rokubekan"
This "Six Sides" museum, formerly known as the Machinery and Tools Exhibition Hall, was originally built by three architects in 1923 and was mainly used for the All-Russian Agricultural and Handicraft Exhibition. The building is the only project to be built using reinforced concrete column beams and wooden truss rafters, thus standing out from other all-wooden and unsaved buildings. The original design of the "Six Sides" Museum is characterized by its double-storey central courtyard and narrow single-storey high building body, in which six building blocks are connected to each other, forming a lower building mass around the main structure, and wrapping the central courtyard in the center, thus directing the flow of people to the center.
Sanaa Architects' design by Kazuyo Sejima and Ritsue Nishizawa
The 2010 Pritzker Prize laureate, SANAA, set out to redesign the "Six Sides" pavilion into a 9,500-square-meter design and art interaction space that will also include three exhibition halls, a library, a bookstore, a café and a public open courtyard space. The Garage Museum of Modern Art and its new extension will provide artists with a wide range of expressive and interdisciplinary presentation opportunities to further explore the research and curatorial design of Russian and international art history.
"When we were invited to the 'Six Sides' pavilion, we immediately began to think about whether we could somehow preserve the original layout and proportions, and consider whether we could create a building that everyone would use. The Garage Museum of Contemporary Art has always been very attentive to the public spaces in the building and their history, which has long been our design center. The 'Six Sides' museum has a special charm, and we have tried to retain this feature in the retrofit design. Kazuyo Sejima and Ritsue Nishizawa explained. (Finishing/Qian Xueer)
Shanghai | Zheng Boping, Zheng Mingxuan
"Drawing on the Past and Casting the Present": Father and son hand in hand to present Chinese paintings
Zheng Boping (right) Zheng Mingxuan (left) father and son
On November 27th, "Drawing on the Ancients and Casting the Present - Zheng Boping Zheng Mingxuan Art Exhibition" was unveiled at the Shanghai Yuwatai Art Museum and Mingche Mountain House, exhibiting the traditional Chinese paintings of father and son.
Zheng Boping, born in Shanghai in 1942, is originally from Zhongshan, Guangdong. He graduated from Shanghai Tongji University in 1964. He was fond of Danqing as a child, and later studied under Chen Congzhou and Yu Zicai, and was a re-disciple of Zhang Daqian and Wu Hufan. He has held solo exhibitions at the Nanjing Museum, the Qinghai Provincial Art Museum, and the Shanghai China Academy of Painting. Before retiring, he was a professor at the Art Teaching and Research Center of Shanghai University.
Zheng Mingxuan, born in Shanghai in 1973, graduated from the Academy of Fine Arts of Shanghai University and was the artistic director of Dentsu (Shanghai) Advertising Agency.
Zheng Boping, who is eighty years old, is a descendant of the Wumen School of painting, and his painting style is bright and elegant. His poetry and painting are exquisite, his landscapes, clouds and smoke are ethereal, grass and trees are huazi, Zheng Mingxuan turned from Western painting to studying the Wumen school of painting at the age of nearly 40, working gongbi figure painting, and painting an understanding of the beauty of traditional art. In this exhibition, more than half of the works are presented to the public for the first time, among which Zheng Boping's several five-foot paintings and boneless flowers are rare to see. Several calligraphy and painting works donated to Zheng Boping by Teacher Zheng Boping in that year were also assembled and unveiled this time, including a painting used by Yu Zicai as the cover of the album and Chen Congzhou's calligraphy works.
Zheng Boping paintings
Works on display
Zheng Mingxuan paintings
"Reading Bo Pingjun's paintings, you can always feel the quiet and pure artistic conception, which is the essence of traditional Chinese scholar culture, and in today's complicated cultural atmosphere, it is not easy to retain, it is the order." This is a passage written by Yang Di, former deputy secretary of the Shanghai Municipal Party Committee, for the preface to Zheng Boping's "Zheng Boping Painting Collection".
In order to enhance her creative education, during the interval between creations, Zheng Boping often sought out ancient books to study. The most impressive thing is a passage in Zhou Yi's "Words and Sayings of Hui Feng": "There are three essentials in lyrics: heavy, clumsy, and big. The nandu sages are out of reach. Words weigh heavily on temperament. Heavy, calm. In the temperament, not in the words. This style also coincides with the pattern of painting advocated by Mr. Chen Congzhou.
Zheng Boping said frankly: "I will not blindly pursue the so-called creative style. Because style cannot be pursued, let alone taken for granted. In the long-term continuous experience and gradual realization, the water will come to fruition, and the style will naturally form. Tranquility, cleanliness and elegance will always be my creative pursuit. ”
The exhibition is located at The Yuwatai Art Museum (Building 2 in Hongqiao Park, No. 9 Ziyun West Road, Changning District) and Mingche Mountain House (Room 125, Building C, No. 70 Bole Road, Jiading District) and runs until December 12. (Finishing / Hatamachi)
Wu Jian'an, | artist from Langfang, Hebei
An exhibition that travels between myth and reality
Wu Jian'an
Chinese contemporary artist Wu Jian'an is adept at synthesizing various materials, languages and media to reconstruct visual bonds between contemporary art and ancient culture, giving ancient myths, totems, folk skills, different stories, and traditional writing a new perspective. Compared with the simple exploration in the contemporary Western context or the traditional Oriental context, Wu Jian'an brings the concept and narrative that combines geographical characteristics, the interests of the times and the individual talent in this unique way to different exhibition halls at home and abroad.
Recently, "Wu Jian'an Solo Exhibition: The Sea, is the Sand Dune" opened in the Langfang Hall of the CAFA Art Museum. The exhibition "mixes" artist Wu Jian'an's representative works and new works from different series.
Wu Jian'an, The Ninth Heaven (Partial) 2008-2009 Hand-engraved cowhide, metal frame, 540×391×15cm ©, Wu Jian'an, 2009
Several large-scale works of his are displayed in the exhibition hall, from the representative work "The Ninth Heaven", which began with pencil line drawing and turned to cowhide carving, to "Daydream Forest", which uses the language of brass engraving to "recreate" paper-cut works; from "cross-border" art experiments - "Signs", an installation work composed of 10 simulated animal specimens, to "Artificial Objects" and "Animal Pens" that reflect the relationship between man and nature... In Wu Jian'an's creation, the fusion of the old and the new is slowly unfolded, with spatial sequences as clues.
The title of the exhibition "Is the sea, is the sand dune", derived from the sea as the source of all things, the sand dunes as the land of the seabed, the sea and the sand dunes refer specifically to the natural cycle, or between existence and non-existence, in the view of curator Li Zhenhua, Wu Jian'an's works, although rich in image and narrative structure, should not be ignored in his creation of supernatural forces - non-pictorial, non-weird, unremitting questioning. (Finishing/Lu Linhan)
Changsha | Illustrator Halo cat
The Four Seasons in the Suitcase: Time and Everyday life in illustration
Halogen cat
Not long ago, Purui Culture Hunan Fine Arts Publishing House published "Four Seasons in the Suitcase", which is a collection of illustrated works by illustrative artist Halocat with the theme of "Four Seasons", divided into four chapters of spring, summer, autumn and winter according to the order of the four seasons, gathering more than 100 selected illustrations and a number of life essays created in the past 10 years, presenting the beauty of the four seasons and the beauty of the seasonal life in various places with flexible brushes and delicate words.
Halocat is a young illustrator who has always wanted to have a collection of paintings to store his work. Although he has been writing since he was a child, from the beginning of his paintings being recognized and accepted by everyone, 2020 is the tenth year of the "official" painting of halo cats, so "Four Seasons in the Suitcase" was born. "I want to share with you this memory of mine and feel the journey of the four seasons with me in the painting." Halo cat said.
"Four Seasons in the Suitcase", Pu Rui Culture, Hunan Fine Arts Publishing House, 2021
In the eyes of the halogen cat, the beautiful life should be flowers in spring, wind in summer, leaves falling in autumn, snow in winter, and four distinct seasons, which can show the richness and diversity of life. Cherry blossoms in the park in spring, sea breeze on the island in summer, autumn leaves in the forest in autumn, polar night in Northern Europe in winter... Walking in different cities, crossing the mountains and lakes, the time and beautiful daily life of the four seasons are gently painted into this book. In addition to the illustrations, the book also includes a number of essays written by Halocat, sharing his feelings about painting, nature, seasons, travel, reading and other aspects through real and delicate words.
Inside page of Seasons in a Suitcase
"I remember walking in Beijing's Houhai Park after dinner, willow trees swaying in the autumn wind. I also remember a table set up on the lawn of Kanas, Xinjiang, where lunch was set up, and in the distance was a deep yellow mountain forest. Many of the pictures were recorded in my works, so that no matter when and where I was, when I looked at these paintings, I could immediately return to the scene and relive an autumn. Halocat wrote. (Text/Hatacho)
Shanghai | Artist Pascal Dobbies
Text and image stitching, the "déjà vu" of the virtual world
Pascal Dobbies
Recently, French artist Pascal Dombis's solo exhibition "Déjà vu" was held at Bluerider ART Blue Rider Shanghai Bund. The exhibition is "stitched" with countless lines, texts and images, including the DÉJÀ VU series of the same name as the exhibition, the "Irrational Geometry" series, and the new "I Am Not a Robot" series.
Born in France in 1965, Pascal Dobbys studied engineering sciences at the National School of Applied Sciences in Lyon, France, and computer art at Tufts University in Boston, USA. Dobbys creates dynamic visual environments and works of art, focusing on the over-manipulation, repetition and unpredictability of technological processes, and has participated in the group exhibition "Artists and Robots" at the Grand Palais in Paris and the peripheral exhibition of the 55th Venice Biennale.
Dobbys, who claims to have been influenced by the American writer William Burroughs, was fascinated by randomly cutting and reassembling linear texts into new, unpredictable, and illogical "texts." This approach deeply influenced Dobis's creation of algorithms, and he created a database similar to AI, but it was very different from the operation mode of traditional AI algorithms.
Pascal Dobbies, one of the "I Am Not a Robot" series
In this exhibition, the new "I Am Not a Robot" series presents thousands of faces, interlaced with images of real individuals and AI faces created by algorithms, and conveys the real occurrence of the real world and the phenomenon that the virtual group image is difficult to distinguish between the true and false, and the text "Are you real, are you a robot..." The Latest Future series presents a dynamic interweaving of color and light, endless repetitive aggregation and discrete movement of light. The "DÉJÀ VU" series of the same name as the exhibition uses aluminum composite materials and uses an airbrush to burn out a prominent text effect, pointing to the original meaning of DÉJÀ VU - "both visual sense, déjà vu", dreamy and distant, trying to evoke similar experiences in the viewer's memory. When form becomes a creative element, Dobbis brings the algorithms and logic that constitute the virtual world to the physical creation, smoothly switching between online and offline, and provoking the audience's viewing experience. (Finishing/Qian Xueer)
Beijing | Musician Fang Wenshan
The first stop of the art creation tour exhibition was unveiled in Beijing
Fang Wenshan
On November 25th, music lyricist and artist Fang Wenshan's art creation touring exhibition "Fang Dao Wenshan Stream - The Creative Way and Style Genre Belonging to Fang Wenshan" first opened at soka Art Beijing Space. The exhibition mainly revolves around 25 lyrics and presents more than 100 important works created by the artist recently, including bronze, ceramics, enamel characters, printed wood carvings, installation art, sculptures, prints, works on paper, etc.
"Chrysanthemum Table" transparent resin Lyrics minus spectrum Large table type
When the artist first wrote the lyrics, he had thought about the combination of lyrics and strings to become a complete songwriting work, if the text was separated from the music, what kind of face would it exist? The first major category of "lyrics installation art" in the exhibition is his three-dimensional exploration of text, trying to combine different media, and even further conceiving the possibility of artistic calligraphy works and various text installations.
The second category of creative concepts, the "Punk Cat Sting" series, is Fang Wenshan's original trend doll, which is related to his song "Blue and White Porcelain". The character "Qing" on the iron piece of armor on the doll's chest is the font of the Yuan Dynasty calligrapher Zhao Mengfu. The creative direction of the third category is set to "steam punk wind". Fang Wenshan's self-reliance is quite fond of retro mechanical structures and steam-punk-style films, such as Miyazaki's "Hall's Moving Castle". I am fascinated by the pipe routes, gears, chains, and dashboards that are scattered between mechanical components and steam power, and feel that they have the beauty of metal components and the beauty of order in mechanical structure. He combined the "steam punk wind" with the splashed ink landscape to form a three-dimensional landscape with a mechanical sense, and then created a bronze ware of "steam punk wind" and a text mechanical lightbox with the meaning of "cyberpunk". (Text/Wang Slander)
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